Il film di Marco Bellocchio, uno dei pochi capolavori italiani del decennio, ha finalmente fatto il suo debutto negli Stati Uniti.
Manhola Dargis sul New York Times gli ha assegnato il Critics’ pick con una recensione senza ombre:
“The mass loves strong men,” Benito Mussolini once said. “The mass is female.” In “Vincere,” a sustained, alternatingly exhausting and aesthetically exhilarating howl of a film, the veteran Italian director Marco Bellocchio brilliantly personalizes Mussolini’s rise to power through a fictional retelling of his seduction and catastrophically violent betrayal of his reputed first wife, Ida Dalser.
Mr. Bellocchio never baldly states the obvious, but he does suggest that Mussolini hid his real relationship with Dalser, at least in part, because he didn’t want to alienate the Roman Catholic Church, with whom he had to share power. In one savagely pointed sequence set in a church doubling as a hospital, he shows a bandaged Mussolini (who finally got his much-coveted World War I) avidly watching a film about Jesus, a juxtaposition that suggests not only how the dictator-savior saw himself but also how he would soon be seen by his country. Later, after Mussolini becomes dictator, Mr. Bellocchio, who makes great use of old newsreels and other archival material throughout, also throws in a photograph of the real Il Duce with some clerics to make just that point.
Like the Hollywood B-movie directors of the golden age who created worlds out of shadows, Mr. Bellocchio resurrects the tragedy of an entire nation with newsreel footage, some smoke, bits of Futurist art and the image of one Italian son in whose devastated face you see millions.